Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bahrain and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1975.
I'm losing my edge.
To all the kids in New York and Seoul.
I'm losing my edge to the art-school Cairo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Drive Like Jehu to the jazz kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Kurtis Blow. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Rhythm & Sound,
the Association,
Hasil Adkins,
The Mighty Diamonds,
Harmonia,
Man Eating Sloth,
Tom Boy,
FM Einheit,
Funky Four + One,
The Misunderstood,
The Moleskins,
Moss Icon,
Todd Terry,
Audionom,
Johnny Clarke,
Young Marble Giants,
Danielle Patucci,
Drexciya,
Lou Reed & Metallica,
Cybotron,
Urselle,
KRS-One,
Franke,
Kas Product,
Drive Like Jehu,
Inner City,
Oppenheimer Analysis,
Gichy Dan,
Camron Feat. Jay Z And Juelz,
Model 500,
Freddie Wadling,
Malaria!,
Scratch Acid,
Delta 5,
The Star Department,
Andrew Hill,
Theoretical Girls,
Rekid,
the Swans,
Skarface,
Lightning Bolt,
Bad Manners,
T. Rex,
Avey Tare's Slasher Flicks,
Orchestral Manoeuvres in the Dark,
Panda Bear,
The Monks,
Jesper Dahlback,
Jeff Mills,
kango's stein massive,
Sparks,
ABC,
Aloha Tigers,
DJ Style,
The Selecter,
Bobby Byrd,
The J.B.'s,
Average White Band,
Röyhkä ja Rättö ja Lehtisalo,
Kurtis Blow,
Swans,
Notorious BIG live in Amsterdam,
Judy Mowatt,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.